About

«A simulacra is an object that does not refer to any underlying reality, but claims to be this reality itself.»
jean baudrillard
The photograph… Read More

«A simulacra is an object that does not refer to any underlying reality, but claims to be this reality itself.»
jean baudrillard
The photographic performance of this project is to overlay a material reality with a virtual one, erasing the border between the two worlds. It is a response to the proliferation of visual projects that take place in virtual spaces. It is a questioning about the notion of border and territory. A mix of two distinct realities into a single image. I want to show that we can use a virtual space in conceptual photography and approach these areas with the same sensitivity as the physical space.
Through my wanderings in the game, I observes the surrounding elements with the same look that I uses in my artistic practice in the real world. I strives to demonstrate that photography is not a reality but a means to disclose a tiny part of our vision and perception of the world around us, and to show dissolution/fusion of phenomenal reality within virtual worlds.This series is also a response/adding to the proliferation of visual projects that take place in virtual spaces. It is a questioning about the notion of border and territory
Using my DSLR, I takes screenshots\photography of my wanderings in the game. Places of interest are marked and located on the map using the game’s GPS system. I would often return in a given virtual location, depending on the light or time of the day, color, and weather. It is processed and developed in Lightroom , using a method identical to that used for my other projects. Then comes the reflective stage, to calculate the right angle, the right light at which to put an arm holding a camera in his hands in the picture.
They are gamers’ arm, and self-portraits this add a new perspective and a additionnal “mise en abyme “.
Then I needs to take a picture of a pair of hand form a person mimicking the action of taking the photograph that was originally taken in GTA. The hands are lit in a studio environment, the same way they would be if the person had been present at the same stage in the game (with the same atmosphere, the same shadows and colours, etc.). The real light adds to the artificiality of the subject: the medium through which reality is transformed is once again light. The final step is to assemble the images from both worlds into a single picture.
Through this creative process, within the virtual environment built by a private video game company, I ask questions about the legitimacy and the authorship of artwork created this way.
( other way to think : Through my creative process, within the REAL environment created by mother earth, I ask questions about the legitimacy and the authorship of artwork created this way. I mean I don’t create the nature, what about the authorship of a landscape? I create noting, I only take decision: framing, time, location, weather, time of the day, etc. so I make the same in the game (except more boring and long than in real life).
Also during the project I ask myself a lots of question about the possible disappearance of the photographic medium as we know it. Our environment tends to be more and more dematerialized, workspaces are now to be found in the Cloud, relationships and social exchanges take place increasingly in virtual networks , while gamers compete on online networks .
PRINTS
24x30po ed.7
48x60 ed.3
INFO: GBUFFER@MSN.COM
Cette série photo est une réponse à la multiplication des projets photo qui traitent des espaces virtuels,
En tant que fabriquant d’images, un même regard se porte sur les espaces qui m’entourent; réels ou virtuels.
Je me sers de l’image pour communiquer ma perception de ceux-ci.
Ainsi, je ne crois pas à la photographie comme médium de retranscription du réel, mais comme un outil de création pure pour exprimer sa vision du monde.
Avec ce projet, je veux mêler deux réalités distinctes en une seule image.
Montrer que l’on peut utiliser un espace virtuel dans la création photographique.
Approcher ces espaces avec la même sensibilité que les espace réels.
Faire cohabiter les deux de façon indétectable, grave aux représentation en 3d contemporaines s’approchant de plus en plus d’un rendu mimétique de la réalité.
À travers une errance dans le jeux vidéo GTAV sans autre but que la flânerie, j’explore cet univers immense comme je le ferai d’une nouvelle contrée lors d’un voyage. Les moments quotidiens, la recherche de la belle lumière, le soucis du cadre mais aussi tout comme dans ma pratique de la photographie «classique»
une certaine spontanéité, l’attrait pour le très spectaculaire ou l’étrange beauté de la banalité, le tout dans un univers entièrement créé par les mains de l’homme. Ce qui pose aussi la question suivante : est-ce que je peux m’approprier la paternité de cette création ou appartient-elle aux créateurs du jeu ?
La création photographique est-elle toujours valable si son sujet est lui-même une création humaine ?
J’ai photographié avec mon 5dMarkII l’écran de mon téléviseur avec rigueur : Cadrage, patienter jusqu’à avoir la bonne lumière, avec aussi du repérage en marquant les endroits intéressants de la carte au GPS pour pou- voir y retourner quand vient la bonne lumière et le bon climat.
Puis un petit traitement par Lightroom comme je le fais toujours, et impression en très grand format (plus
de deux mètres de haut). Je place alors le tirage en studio, je le rend lumineux par un dispositif d’éclairage et je place devant lui les mains d’une personne mimant avec un appareil la prise de vue, que j’éclaire de manière identique que s’il avait fait partie de la prise de vue (même ambiance, direction des ombres, couleurs des lumières, intensité , densité).
Je créé ce processus de mise en abyme pour questionner la distorsion de la réalité, notamment au travers de la photographie et de ses propriétés techniques (les hautes lumières, le bruit et la distorsion des couleurs), ainsi que les rapports entres espaces réels et virtuels qui sont de plus en plus présents dans notre quotidien, avec les téléviseurs, smartphones, tablettes et ordinateurs, leur multiplication.
PRINTS
24x30po ed.7
48x60 ed.3
INFO: GBUFFER@MSN.COM
Read Less

Published:

CROSSROAD OF REALITIES

a photographic performance in Real/Virtual World

Grand Theft Auto V

«A simulacra is an object that does not refer to any underlying reality, but claims to be this reality itself.»

jean baudrillard

«A simulacra is an object that does not refer to any underlying reality, but claims to be this reality itself.»Jean Baudrillard

The photographic performance of this project is to overlay a material reality with a virtual one, erasing the border between the two worlds. It is a response to the proliferation of visual projects that take place in virtual spaces. It is a questioning about the notion of border and territory. A mix of two distinct realities into a single image. I want to show that we can use a virtual space in conceptual photography and approach these areas with the same sensitivity as the physical space.

Through my wanderings in the game, I observes the surrounding elements with the same look that I uses in my artistic practice in the real world. I strives to demonstrate that photography is not a reality but a means to disclose a tiny part of our vision and perception of the world around us, and to show dissolution/fusion of phenomenal reality within virtual worlds.This series is also a response/adding to the proliferation of visual projects that take place in virtual spaces. It is a questioning about the notion of border and territory

Using my DSLR, I takes screenshots\photography of my wanderings in the game. Places of interest are marked and located on the map using the game’s GPS system. I would often return in a given virtual location, depending on the light or time of the day, color, and weather. It is processed and developed in Lightroom , using a method identical to that used for my other projects. Then comes the reflective stage, to calculate the right angle, the right light at which to put an arm holding a camera in his hands in the picture.

They are gamers’ arm, and self-portraits this add a new perspective and a additionnal “mise en abyme “.

Then I needs to take a picture of a pair of hand form a person mimicking the action of taking the photograph that was originally taken in GTA. The hands are lit in a studio environment, the same way they would be if the person had been present at the same stage in the game (with the same atmosphere, the same shadows and colours, etc.). The real light adds to the artificiality of the subject: the medium through which reality is transformed is once again light. The final step is to assemble the images from both worlds into a single picture.

Through this creative process, within the virtual environment built by a private video game company, I ask questions about the legitimacy and the authorship of artwork created this way.( other way to think : Through my creative process, within the REAL environment created by mother earth, I ask questions about the legitimacy and the authorship of artwork created this way. I mean I don’t create the nature, what about the authorship of a landscape? I create noting, I only take decision: framing, time, location, weather, time of the day, etc. so I make the same in the game (except more boring and long than in real life).

Also during the project I ask myself a lots of question about the possible disappearance of the photographic medium as we know it. Our environment tends to be more and more dematerialized, workspaces are now to be found in the Cloud, relationships and social exchanges take place increasingly in virtual networks , while gamers compete on online networks .

Comments

Basic Info

«A simulacra is an object that does not refer to any underlying reality, but claims to be this reality itself.»
jean baudrillard
The photographic performance of this project is to overlay a material reality with a virtual one, erasing the border between the two worlds. It is a response to the proliferation of visual projects that take place in virtual spaces. It is a questioning about the notion of border and territory. A mix of two distinct realities into a single image. I want to show that we can use a virtual space in conceptual photography and approach these areas with the same sensitivity as the physical space.
Through my wanderings in the game, I observes the surrounding elements with the same look that I uses in my artistic practice in the real world. I strives to demonstrate that photography is not a reality but a means to disclose a tiny part of our vision and perception of the world around us, and to show dissolution/fusion of phenomenal reality within virtual worlds.This series is also a response/adding to the proliferation of visual projects that take place in virtual spaces. It is a questioning about the notion of border and territory
Using my DSLR, I takes screenshots\photography of my wanderings in the game. Places of interest are marked and located on the map using the game’s GPS system. I would often return in a given virtual location, depending on the light or time of the day, color, and weather. It is processed and developed in Lightroom , using a method identical to that used for my other projects. Then comes the reflective stage, to calculate the right angle, the right light at which to put an arm holding a camera in his hands in the picture.
They are gamers’ arm, and self-portraits this add a new perspective and a additionnal “mise en abyme “.
Then I needs to take a picture of a pair of hand form a person mimicking the action of taking the photograph that was originally taken in GTA. The hands are lit in a studio environment, the same way they would be if the person had been present at the same stage in the game (with the same atmosphere, the same shadows and colours, etc.). The real light adds to the artificiality of the subject: the medium through which reality is transformed is once again light. The final step is to assemble the images from both worlds into a single picture.
Through this creative process, within the virtual environment built by a private video game company, I ask questions about the legitimacy and the authorship of artwork created this way.
( other way to think : Through my creative process, within the REAL environment created by mother earth, I ask questions about the legitimacy and the authorship of artwork created this way. I mean I don’t create the nature, what about the authorship of a landscape? I create noting, I only take decision: framing, time, location, weather, time of the day, etc. so I make the same in the game (except more boring and long than in real life).
Also during the project I ask myself a lots of question about the possible disappearance of the photographic medium as we know it. Our environment tends to be more and more dematerialized, workspaces are now to be found in the Cloud, relationships and social exchanges take place increasingly in virtual networks , while gamers compete on online networks .
PRINTS
24x30po ed.7
48x60 ed.3
INFO: GBUFFER@MSN.COM
Cette série photo est une réponse à la multiplication des projets photo qui traitent des espaces virtuels,
En tant que fabriquant d’images, un même regard se porte sur les espaces qui m’entourent; réels ou virtuels.
Je me sers de l’image pour communiquer ma perception de ceux-ci.
Ainsi, je ne crois pas à la photographie comme médium de retranscription du réel, mais comme un outil de création pure pour exprimer sa vision du monde.
Avec ce projet, je veux mêler deux réalités distinctes en une seule image.
Montrer que l’on peut utiliser un espace virtuel dans la création photographique.
Approcher ces espaces avec la même sensibilité que les espace réels.
Faire cohabiter les deux de façon indétectable, grave aux représentation en 3d contemporaines s’approchant de plus en plus d’un rendu mimétique de la réalité.
À travers une errance dans le jeux vidéo GTAV sans autre but que la flânerie, j’explore cet univers immense comme je le ferai d’une nouvelle contrée lors d’un voyage. Les moments quotidiens, la recherche de la belle lumière, le soucis du cadre mais aussi tout comme dans ma pratique de la photographie «classique»
une certaine spontanéité, l’attrait pour le très spectaculaire ou l’étrange beauté de la banalité, le tout dans un univers entièrement créé par les mains de l’homme. Ce qui pose aussi la question suivante : est-ce que je peux m’approprier la paternité de cette création ou appartient-elle aux créateurs du jeu ?
La création photographique est-elle toujours valable si son sujet est lui-même une création humaine ?
J’ai photographié avec mon 5dMarkII l’écran de mon téléviseur avec rigueur : Cadrage, patienter jusqu’à avoir la bonne lumière, avec aussi du repérage en marquant les endroits intéressants de la carte au GPS pour pou- voir y retourner quand vient la bonne lumière et le bon climat.
Puis un petit traitement par Lightroom comme je le fais toujours, et impression en très grand format (plus
de deux mètres de haut). Je place alors le tirage en studio, je le rend lumineux par un dispositif d’éclairage et je place devant lui les mains d’une personne mimant avec un appareil la prise de vue, que j’éclaire de manière identique que s’il avait fait partie de la prise de vue (même ambiance, direction des ombres, couleurs des lumières, intensité , densité).
Je créé ce processus de mise en abyme pour questionner la distorsion de la réalité, notamment au travers de la photographie et de ses propriétés techniques (les hautes lumières, le bruit et la distorsion des couleurs), ainsi que les rapports entres espaces réels et virtuels qui sont de plus en plus présents dans notre quotidien, avec les téléviseurs, smartphones, tablettes et ordinateurs, leur multiplication.
PRINTS
24x30po ed.7
48x60 ed.3
INFO: GBUFFER@MSN.COM

Project by

About

«A simulacra is an object that does not refer to any underlying reality, but claims to be this reality itself.»
jean baudrillard
The photograph… Read More

«A simulacra is an object that does not refer to any underlying reality, but claims to be this reality itself.»
jean baudrillard
The photographic performance of this project is to overlay a material reality with a virtual one, erasing the border between the two worlds. It is a response to the proliferation of visual projects that take place in virtual spaces. It is a questioning about the notion of border and territory. A mix of two distinct realities into a single image. I want to show that we can use a virtual space in conceptual photography and approach these areas with the same sensitivity as the physical space.
Through my wanderings in the game, I observes the surrounding elements with the same look that I uses in my artistic practice in the real world. I strives to demonstrate that photography is not a reality but a means to disclose a tiny part of our vision and perception of the world around us, and to show dissolution/fusion of phenomenal reality within virtual worlds.This series is also a response/adding to the proliferation of visual projects that take place in virtual spaces. It is a questioning about the notion of border and territory
Using my DSLR, I takes screenshots\photography of my wanderings in the game. Places of interest are marked and located on the map using the game’s GPS system. I would often return in a given virtual location, depending on the light or time of the day, color, and weather. It is processed and developed in Lightroom , using a method identical to that used for my other projects. Then comes the reflective stage, to calculate the right angle, the right light at which to put an arm holding a camera in his hands in the picture.
They are gamers’ arm, and self-portraits this add a new perspective and a additionnal “mise en abyme “.
Then I needs to take a picture of a pair of hand form a person mimicking the action of taking the photograph that was originally taken in GTA. The hands are lit in a studio environment, the same way they would be if the person had been present at the same stage in the game (with the same atmosphere, the same shadows and colours, etc.). The real light adds to the artificiality of the subject: the medium through which reality is transformed is once again light. The final step is to assemble the images from both worlds into a single picture.
Through this creative process, within the virtual environment built by a private video game company, I ask questions about the legitimacy and the authorship of artwork created this way.
( other way to think : Through my creative process, within the REAL environment created by mother earth, I ask questions about the legitimacy and the authorship of artwork created this way. I mean I don’t create the nature, what about the authorship of a landscape? I create noting, I only take decision: framing, time, location, weather, time of the day, etc. so I make the same in the game (except more boring and long than in real life).
Also during the project I ask myself a lots of question about the possible disappearance of the photographic medium as we know it. Our environment tends to be more and more dematerialized, workspaces are now to be found in the Cloud, relationships and social exchanges take place increasingly in virtual networks , while gamers compete on online networks .
PRINTS
24x30po ed.7
48x60 ed.3
INFO: GBUFFER@MSN.COM
Cette série photo est une réponse à la multiplication des projets photo qui traitent des espaces virtuels,
En tant que fabriquant d’images, un même regard se porte sur les espaces qui m’entourent; réels ou virtuels.
Je me sers de l’image pour communiquer ma perception de ceux-ci.
Ainsi, je ne crois pas à la photographie comme médium de retranscription du réel, mais comme un outil de création pure pour exprimer sa vision du monde.
Avec ce projet, je veux mêler deux réalités distinctes en une seule image.
Montrer que l’on peut utiliser un espace virtuel dans la création photographique.
Approcher ces espaces avec la même sensibilité que les espace réels.
Faire cohabiter les deux de façon indétectable, grave aux représentation en 3d contemporaines s’approchant de plus en plus d’un rendu mimétique de la réalité.
À travers une errance dans le jeux vidéo GTAV sans autre but que la flânerie, j’explore cet univers immense comme je le ferai d’une nouvelle contrée lors d’un voyage. Les moments quotidiens, la recherche de la belle lumière, le soucis du cadre mais aussi tout comme dans ma pratique de la photographie «classique»
une certaine spontanéité, l’attrait pour le très spectaculaire ou l’étrange beauté de la banalité, le tout dans un univers entièrement créé par les mains de l’homme. Ce qui pose aussi la question suivante : est-ce que je peux m’approprier la paternité de cette création ou appartient-elle aux créateurs du jeu ?
La création photographique est-elle toujours valable si son sujet est lui-même une création humaine ?
J’ai photographié avec mon 5dMarkII l’écran de mon téléviseur avec rigueur : Cadrage, patienter jusqu’à avoir la bonne lumière, avec aussi du repérage en marquant les endroits intéressants de la carte au GPS pour pou- voir y retourner quand vient la bonne lumière et le bon climat.
Puis un petit traitement par Lightroom comme je le fais toujours, et impression en très grand format (plus
de deux mètres de haut). Je place alors le tirage en studio, je le rend lumineux par un dispositif d’éclairage et je place devant lui les mains d’une personne mimant avec un appareil la prise de vue, que j’éclaire de manière identique que s’il avait fait partie de la prise de vue (même ambiance, direction des ombres, couleurs des lumières, intensité , densité).
Je créé ce processus de mise en abyme pour questionner la distorsion de la réalité, notamment au travers de la photographie et de ses propriétés techniques (les hautes lumières, le bruit et la distorsion des couleurs), ainsi que les rapports entres espaces réels et virtuels qui sont de plus en plus présents dans notre quotidien, avec les téléviseurs, smartphones, tablettes et ordinateurs, leur multiplication.
PRINTS
24x30po ed.7
48x60 ed.3
INFO: GBUFFER@MSN.COM
Read Less